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 Some interesting films dropped for the middle of August. Below is my take on the new movies I saw this week. You can keep up with everything I’m watching by following me on Letterboxd @knighthawk7734.

The End of Oak Street (Theaters)
Starring: Ewan McGregor, Anne Hathaway, Maisy Stella, and Christian Convery
Synopsis: Back in 2014, David Robert Mitchell created something fascinating in the horror genre. His film, It Follows, was unlike anything I had seen. That was the case for many, as it became something of a phenomenon. It put him on the map in a new way and became a cult classic in the horror genre. Now, 12 years later, he’s back with a new film that could do the same for the science fiction and adventure genre. It’s a film that bends expectations with a rich story, a cool concept, and some great performances. And it’s a gem to end the summer movie season. The End of Oak Street presents us with a typical American family. It’s near the end of summer in 1982, and on the surface The Platts have it all. Greg (Ewan McGregor), Denise (Anne Hathaway), and their two kids Audrey (Maisy Stella) and Brian (Christian Convery) appear to be the perfect family. And they’re all together, enjoying a great day at the neighborhood block party to end summer. But beneath the surface are cracks. Greg and Denise have a frayed relationship that is plagued by secrets. His seem to revolve around his job and all his side jobs. Hers revolve around a secret novel with is something of an expression of regret and choices she wished she’d made. And their tension, bubbling below the surface and starting to break through more often, hasn’t gone unnoticed by their kids. One night, in the midst of a terrible storm, they all see some flashing lights and hear a big noise. They lose power, water, and just about everything else. But when the dawn breaks, they realize something bigger has happened. Their neighborhood has moved, which puts even more pressure on the issues they’ve long been ignoring. This is not only a fascinating science fiction premise and action drama, but also a great family drama about inter-personal issues, relationships, and what it takes to keep a family together. It’s an interesting mix that ends up creating something engaging, emotional, and compelling. It’s a great offering from Mitchell, who wrote and directed the film. I liked the action sequences and the concept. It was fun to have it set in the past, too, adding a nostalgic touch to the look of the world, they house, the cars, and the technology available. The story moves in some interesting ways, too, offering a bit of insight into the phenomenon that drives the plot without needing to offer a complete, concrete explanation. But this is about the journey of these characters. McGregor and Hathaway are great together. The arc of their relationship, and how the tension plays out and comes full circle is rich and satisfying. There are moments of heartbreak and humor mixed in with the action, danger, and mystery. I enjoyed Stella and Convery, too. They do a nice job in their roles and help you to be locked into this family and its journey. I deeply appreciated the third act and how it all comes together in the end. Better still, it’s wrapped up in a 99-minute package, not lingering too long on any one sequence or idea. It’s a fun ride that will draw you in and entertain you to end the summer. It’s one of my favorites of the year so far.
Rating: Rated PG-13 for some strong violent content, bloody images, some strong language and suggestive material.
Verdict: Four stars out of five

Teenage Sex and Death at Camp Miasma (Limited)
Starring: Hannah Einbinder and Gillian Anderson
Synopsis: The age of horror movies is populated with franchises. Most of them feature an iconic and memorable killer who, no matter how many times he’s dispatched in previous installments, comes back to terrorize people in film after film. And most of those films feature young people in peril. We’ve seen many of these franchises start, wane, and start back again. In her latest feature, Teenage Sex and Death at Camp Miasma, writer/director Jane Schoenbrun explores that idea. It’s part of the meta narrative in a new horror feature that has a lot of layers. The film debuted at festivals earlier in the year, then had a limited release on August 7, expanding to more theaters throughout the month. It’s certain to be one of the most talked about new films to end summer. The film focuses on Kris (Hannah Einbinder), a young filmmaker who has been handed the keys to her favorite horror franchise—Camp Miasma. Her idea is a modern re-boot that offers an origin story. In order to find a creative center, she’s reached out to the original star, Billy (Gillian Anderson), with a slick new concept. She heads to the frozen country, to the campground where the original was shot, to get in touch with Billy. Turns out the film, and the franchise has become somewhat all-consuming for Billy, who purchased the old campground and calls it home. There, she lives somewhat isolated from the world, with her old reels of the films to connect to her past. She watches the young version of herself (Amanda Fix) on screen, battling the iconic killer Little Death (Jack Haven). She seems keen on Kris’s concept for a re-boot and invites her to stay at the camp so they can bond. But as they watch the old films, the lines between reality and fiction begin to blur as it’s unclear how much the lines of fiction and reality have been blurred for Billy and the world she’s built for herself. Schoenbrun is a unique filmmaker. Her previous efforts—We're All Going to the World’s Fair and I Saw the TV Glow—earned fans. This is probably her most ambitious, and in some ways the most accessible. It features an interesting take on the genre as well as a focus on two women who are lost and find something in each other in a very dark and violent place. The visuals in the film work well. There are some stunning shots and sequences that draw you in. And the violent sequences are well crafted and grab your attention. That’s particularly true of the Third Act sequence that sort of caps the whole narrative of Little Death. The film is buoyed by two great performances. Anderson settles into the odd role of an aging Billy well, creating a creepy and engaging vibe and atmosphere. While Einbinder does a nice job of bringing Kris to life. She gives her all in the role and has some showcase sequences. That being said, I haven’t always connected well to Schoenbrun’s films. They exist on a different kind of story plane, and while I’ve appreciated the craft, it hasn’t clicked. This film is no different. I appreciate the craft, performances, and swing, but it’s not my cup of tea. It will likely have some specific appeal—especially to horror fans—but it’s not likely to be for everyone.
Rating: Rated R for bloody violence, gore, sexual content, graphic nudity, drug use and some language.
Verdict: Three stars out of five